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24p benefits projects where image material originates in a progressive form at 24 fps, or possibly 25fps (i.e., film or 24p video). Any system with the Universal option is a frame based nonlinear system for television, where the final product mastered directly out of the Avid is intended for NTSC or PAL. The Universal option also allows creation of multiformat EDLs for HDTV online mastering, and the creation of true 24fps film Cut Lists and Change Lists for 16mm, 35mm 2-perf, 35mm 4-perf, 35mm 3-perf, 35mm 8-perf, 65mm 5-perf, 65mm 8-perf, 65mm 10-perf, 65mm 12-perf, and 65mm 15-perf.

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Buying a better chair and assuring perfect neck, arm and wrist angle measurements can help fight destructive carpal tunnel syndrome and repetitive stress injury (RSI), but nothing can harness the increased horsepower of a new software release like a dedicated DAW control surface. Consider just the time and muscle movement it takes to locate, grab and rotate one EQ knob back and forth with a mouse. Do the same calculation based on simply grabbing and twisting a dedicated EQ knob on a DAW controller, and multiply that effort by a hundred or a thousand times in a single day. You’ve already saved 30 minutes or more per session ? and that’s just for EQ.

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Buying a better chair and assuring perfect neck, arm and wrist angle measurements can help fight destructive carpal tunnel syndrome and repetitive stress injury (RSI), but nothing can harness the increased horsepower of a new software release like a dedicated DAW control surface. Consider just the time and muscle movement it takes to locate, grab and rotate one EQ knob back and forth with a mouse. Do the same calculation based on simply grabbing and twisting a dedicated EQ knob on a DAW controller, and multiply that effort by a hundred or a thousand times in a single day. You’ve already saved 30 minutes or more per session ? and that’s just for EQ.

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Film Composer 6.5.1v1 (forward) allows capture of 30 frame film based material into a 24 frame project. In 6.5.1v1 through 7.2 this feature is only available once a Console command has been entered. Once enabled, film to tape transfers that were done without pulldown can now be captured directly into a film project. This feature is principally for special effects that are generated on a frame to frame basis to tape and need to be integrated into the film project. Picture only digitize is available when this mode is active. 24 frame and 30 frame capture can be edited together in the same sequence.

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This paper represents an attempt to dispel the rumor and innuendo surrounding the 4:1:1 versus 4:2:2 issue, especially as it relates to the “Is DV better (or worse) than Betacam SP?” controversy, and DV compression artifacts.

http://www.oakmusic.com/parkplace/video/DVPapers/dv-beta.htm

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November 19, 1996

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[Although a little dated now, the techniques are still worth reading.] Despite what some salespeople would like us to believe, there is more to digitizing video then simply plugging in a board and pressing a button on the screen. The manufacturers and software developers have given us marvelous tools to work with, but just as important as the tools themselves is understanding how to use them, and how the final use of the digital video influences the techniques that should be used.